Outpost 250924
Research Collage 2015
Disjunction and Event/Architecture In/Between.
The task of the architect is to modulate, orchestrate, or simplify the potential reciprocity, indifference, or conflict that spaces can generate. Most problems in architecture are disjunctive, namely they are multiple, heterogeneous, divergent and even contradictory, involving site, program, budget, schedule, and interest groups, among other factors. All of these contradicting and disjunctive forces eventually contaminate one another. Bernard Tschumi, Notes on Architecture 2010 (unpublished).
Making/Adaptations/Using The Made.
Drawing into the indeterminacy of boundaries.
Organism-Person-Environment
https://www.flickr.com/photos/russellmoreton/
Studio Drawings.
On Feeling More Matter than Form.
There is always more of everything than a thing can contain.
Immediate Architectural Experiences.
Bodies, Spaces and Their Relations.
Creating an independent yet meaningful reality, that are direct aesthetic experiences of the real.
Kenzo Tange.
Regaining our experience in a world of mass media culture, regaining a world that is directly lived.
Ann Cline.
Architectural Body/Sited Awareness.
Arakawa and Gins end up pointing to the inseparability and affect of body and surround, for them this inseparability is what gives rise to the architectural body. They write that a person should never be considered apart from her surroundings, that their hypothesis of the Architectural Body/Sited Awareness, announces the indivisibility of seemingly separate fields of bioscleave: a person and an architectural surround, and that the two together give procedural architecture its basic unit of study the architectural body.
This results in a certain indeterminacy of boundaries, as body and surround are collapsed into one, and as they are constantly shifting in relation to one another.
The architectural body is a body that can and cannot be found.
Boundaries for an architectural body can only be suggested, never determined.
Architecture in Abjection.
Zuzana Kovar.
Relevance/Relation as a way of organizing things through both contingency (philosophy) and metonymy (linguistics).
Relevance has by its nature, wiggle room because things have wiggle room. Because things never quite coincide with how they appear for or how they are used by or interpreted by other things (and possibly even themselves).
What we want to do and how we feel and what we are wanting and feeling about are all mashed together into an ecological awareness.
The Context of Relevance is Structurally Incomplete.
Whenever you want to do something, you always encounter a whole thicket of things that are relevant to what you're wanting to do. This thicket of things creates an explosion of contextualization, and you can't – won't be able to stop it.
Timothy Morton.
An interconnection without an edge or centre called General Economy.
Bataille.
Architecture and Material Practice
Katie Lloyd Thomas.
Susannah Hagan argues for a return to a cyclic model where matter is only ever reformed and make (or adapt) architecture accordingly – but without necessarily returning to old forms of building. In a responsible future, architects may have to relinquish their role as form givers, and 'grow' materials rather than give them shape.
Social imperatives and new technologies may well, finally, be the undoing of the grip that hylomorphism has held on architectural and material practices for so long.
Caryatids/Project Spaces.
Architectural Surrounds.
Studio Floor Drawing/Painting.
Mattering/Of and For the Body of Others.
Material Worlds : Frottage, charcoal, wax, Indian Ink, crayon on water.
Material and buildings are always implicated, in and of the world. In discussing her work with a group of African women who are beginning the process of making their own homes, Doina Petrescu asks how their principle of 'putting together and sharing' might be realized in an architectural project.
The specificities of place, culture, gender and local forms of negotiation make an 'architecture' that is more fluid than solid, and more matter than form, and demonstrate the radical alterity of building in another context.
Architecture in Abjection.
Organism-Person-Environment
Human bodies and spaces flow through one another – a chemical indiscernibility that is invisible.
Two of the most fundamental things that come out of the work of Rahm and Arakawa and Gins for architecture, in mapping out a more open-ended and volatile understanding of bodies and spaces, are the reduction of these to matter and a thinking in terms of relations or events rather than static and discrete entities. These link directly into the area of process and intelligent material philosophy that is at the forefront of this thinking, and that is employed here, namely through the work of Deleuze and Guattari, in order to approach abject(ion) productively.
What the introduction of abject(ion) and a reading of it through the filter of Deleuze and Guattari allows for and contributes on top of its own way of reworking dualities is a bringing together of the material and processual approaches already in play within the work of Rahm and Arakawa and Gins, respectively. It is with this in mind that we move to the Kristevan concept.
The Hot Death. 2006.
Philippe Rahm.
Rahm's work has a very particular quality. There is almost no building, which is usually the measure or ground of architecture. There is nothing left but the ritual, experience, coder and effect of architecture itself.
Physiological/Meteorological Architecture operates across fields of art, architecture and science. Rahm through his spaces, manipulates temperature, oxygen and hormone levels. Importantly, as his works straddle this range of fields, it frees up the architecture, allowing it to be distilled down to its effects and to experience.
An architecture that gets distilled down to experience and the chemical exchanges between body and space. It begins to function within a similar realm to abject(ion). It becomes about a visceral assault, an affect that passes through the subject.
This extracorporeal space, especially in contemporary man, consists of filling to the point of overflow where the subject is ensnared, a condition of the state of stress and an endemic breach of adaptation.
The Hot Death is a choreography piece that investigates the indiscernibility of the body and space at a chemical level. A levelling between body and space occurs, where the temperature of the space slowly comes to equal that of the living body, stabilising the two and eliminating their differences: a play on death.
The bodies are on stage at the start of the order of individuality, each with its own movements, independently of others, as a multitude of energy. Then gradually, the temperature, humidity of the room rises to match that of the human body. The movements are slower, heavier, gravity wins put up any ground, motionless, without more space between, more movement possible.
Body and space are at the fundamental level of a base materialism, merely matter, and that because of this, 'can wind quintets carry and spread the flu virus?' such exchanges are possible.
Raum's work moves away from an architecture that is constituted by body and space to an architecture that is the active exchange between body and space. It is in this understanding – that bodily and spatial boundaries are not clearly demarcated as architecture still generally assumes them to be, and that they regularly are transgressed and diluted – that constitutes a move beyond dualistic modes of thought.
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